FLEMISH SCHOOL

which divides the composition into two halves is so
minutely painted that we can detect the dead wood
among the foliage. The hermit saint is surrounded by
exquisite flowers, among which can be seen the purple
iris and a tall mullen plant. The mullenissaid to have
been used for healing and has therefore a special signifi-
cance in this picture.

The picture is part of a diptych and its companion
piece, representing "The Mass of St. Giles5, is now in a
private collection.

Another Dutchman by birth who is always associated
with the Flemish School is GERARD DAVID (1460 ?~
1523). Although he studied at Haarlem (perhaps with
Geertgen tot Sint Jans), David spent most of his time in
Flanders and worked at Bruges for the last forty years
of his life. Our Gallery is fortunate in possessing five
examples of his work, each of which is indicative of a
different stage in his artistic development. Our earliest
example—one of the earliest on record—is the Christ
Nailed to the Cross (No. 3067). This, in its intense
realism, is entirely Dutch in character. But this native
influence was only transitory and, after the painter's re-
moval from Haarlem to Bruges, he forgot his early sur-
roundings and completely assimilated the spirit of the
Netherlands. Our Marriage of Saint Catherine (No,
1432) excellently illustrates the change and, except for
certain qualities of technique, the picture is almost in-
distinguishable from a Memlinc. The design is dull and
formal but the background is delicious. The Virgin sits
in a tiled court which borders upon a garden. On the
left an angel is in the garden plucking grapes whilst
further along, on the right, walks St. Anthony for
whose chapel the picture was painted. Beyond the

144FLEMISH SCHOOL

which divides the composition into two halves is so
minutely painted that we can detect the dead wood
among the foliage. The hermit saint is surrounded by
exquisite flowers, among which can be seen the purple
iris and a tall mullen plant. The mullenissaid to have
been used for healing and has therefore a special signifi-
cance in this picture.

The picture is part of a diptych and its companion
piece, representing "The Mass of St. Giles5, is now in a
private collection.

Another Dutchman by birth who is always associated
with the Flemish School is GERARD DAVID (1460 ?~
1523). Although he studied at Haarlem (perhaps with
Geertgen tot Sint Jans), David spent most of his time in
Flanders and worked at Bruges for the last forty years
of his life. Our Gallery is fortunate in possessing five
examples of his work, each of which is indicative of a
different stage in his artistic development. Our earliest
example—one of the earliest on record—is the Christ
Nailed to the Cross (No. 3067). This, in its intense
realism, is entirely Dutch in character. But this native
influence was only transitory and, after the painter's re-
moval from Haarlem to Bruges, he forgot his early sur-
roundings and completely assimilated the spirit of the
Netherlands. Our Marriage of Saint Catherine (No,
1432) excellently illustrates the change and, except for
certain qualities of technique, the picture is almost in-
distinguishable from a Memlinc. The design is dull and
formal but the background is delicious. The Virgin sits
in a tiled court which borders upon a garden. On the
left an angel is in the garden plucking grapes whilst
further along, on the right, walks St. Anthony for
whose chapel the picture was painted. Beyond the

144